09 Jun 2012
L’olimpiade, Venice Baroque Orchestra
Over 60 composers (including Beethoven) wrote music inspired by Metastasio’s L’olimpiade.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
Over 60 composers (including Beethoven) wrote music inspired by Metastasio’s L’olimpiade.
The Venice Baroque Orchestra brought to London their pasticcio, selecting 16 settings, organized around the original play.
Metastasio’s libretto, L’Olympiade was a popular choice for composers in the 18th century with settings by composers such as Caldara, Hasse, Vivaldi, Galuppi, Cimarosa, Paisiello and Cherubini. Donizetti even started a setting of it. The plot is the usual mix of co-incidences, mistaken identities and love thwarted. In fact the plot summary could be read as much as “Carry on up the Olympics” as an opera seria.
Whilst Vivaldi’s setting has received recent revivals, the Venice Baroque Orchestra under Andrea Marcon decided to explore the full gamut of settings of the libretto. At their concert at London’s Queen Elizabeth Hall on Monday 28 May they present a pasticcio made up of music from 16 composers. Pasticcios were common in the 18th century, with music taken from a variety of composers. The Venice Baroque Orchestra chose to present Metastasio’s libretto as he first produced it, ignoring the many changes that subsequent composers made. It was common to replace aria text and even to trim the recitative, so that for instance Vivaldi’s version of the opera makes significant changes to the aria texts.
The Venice Baroque Orchestra presented all of Metastasio’s arias but omitted all of the recitative. In the 18th century, a pasticcio would have recitative by a particular composer to bind the arias together. At the Queen Elizabeth Hall we had just the arias, linked by written plot summary.
We opened with Leonardo Leo’s sinfonia for his setting premiered in Naples in 1737, a short, no nonsense piece which displayed the orchestra’s wonderfully crisp, up-front playing. From then on we skittered through the next 50 years. Without the recitative it was difficult for the soloists to give a coherent sense of character given the variety of settings. For example Romina Basso as Megacle sang arias by Hasse (1756), Gassmann (1764), Cherubini (1783) and Jommelli (1761). It was difficult to grasp the feel of the complete operas, particularly as the styles of the settings varied from Caldara’s baroque setting, through galant and classical all the way to Cherubini.
This is where the logic behind the performance also fell down. In the 18th century a pasticcio would have had recitative and arias selected from a small group of contemporary composers, probably linked by style. Here we had no recitative and composers of a bewildering variety of styles. So it was as a concert, rather than an opera, that we have to think of this.
Basso as Megacle (one of the two male characters played by female singers), had a fine mezzo-soprano voice. Her opening aria, by Hasse, provided her with some suitably brilliant music which she executed quite superbly. However Basso had a rather odd performance style, rarely looking at the audience and waving her arms in the air in a strange manner. The result rather led to a strong lack of audience engagement, but her brilliant technical performance compensated to a certain extent.
The other male character, Licida, was played by mezzo soprano Delphine Galou. She opened with an aria by Galuppi from 1748, rather more early classical in style. Galou had a stylish delivery and an attractively dark, veiled voice. She went on to sing an aria by Vivaldi and a further one by Galuppi.
The two heroines were sopranos Ruth Rosique and Luanda Siqueira as Aristea and Argene. Rosique opened with an aria from 1786 by Paisiello in a lovely, expressive performance, following this with music by Gassman, Caldara (the libretto’s original setting), Leo and Piccini. Siqueira started with an aria by Sarti from 1778 in galant style, then covering music by Perez (written for Lisbon in 1753), Traetta and Pergolesi.
Tenor Jeremy Ovenden as Clistene had a series of high tenor arias, from Josef Myslivecek (a friend of Mozart’s), Jommelli and Cimarosa. Ovenden had a fine technique, a nice vibrant tenor with a free and easy top, he displayed little effort when it came to the tessitura of the arias.
Counter tenor Nicholas Spanos had a smaller role and displayed a rather careful technique in arias by Hasse.
One of the interesting things about the concert was the contrast between the various styles of the arias. We had galant music by Sarti, baroque music by Caldara and Vivaldi, late baroque style music by Traetta, music of an early classical feel by Jomelli, classical elegance from Piccini and of course a fully developed dramatic scene from Cherubini. Missing from the list, unfortunately, were Sacchini and Donizetti; it would certainly have been interesting to see what Donizetti made of it.
Hasse came out top with five items in the concert, showing how he was brilliant at writing elaborate arias which displayed voices at their best. The most intriguing was perhaps Traetta whose Act 2 arias for Siqueiria left me wondering what the remainder of his opera would be like. Another fascinating point was the way that composers from the classical period continued to write Da Capo arias.
In the programme book, Reinhard Strohm talked about the perfection of Metastasio’s work. A perfection that modern listeners often find it difficult to detect judging by the reviews of recent performances of Vivaldi’s L’Olympiade where reviewers have had difficulty taking the plot seriously. This is one of the problems with this genre, we have not yet learned to listen to settings of Metastasio’s texts. Contemporary ears have trouble finding balance and perfection and see only contrived co-incidences. Hasse in particular was strongly associated with Hasse, and most of the composers included in the evening would have regarded his libretto as a serious object worthy of setting.
The performances from the Venice Baroque Orchestra under Marcon were simply stunning. The orchestra had a fine technique, with a bravura feel to it which just asked to be listened to.
As drama, the performance was lacking. The programme probably works better as a CD than as a concert performance of an opera. But Marcon and his cast gave us a string of extremely fine performance which just made one sit up and listen.